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Juliet Palmer  

5 Cactus Dreams

Duration: 05' 00" Year: 1988
for voice and chamber ensemble

  • Instrumentation
    vocalist, oboe, tenor saxophone, viola, cello, cactus and camera flash. Performed in darkness with light flashes to trigger each movement - performers also walk while playing.
  • Availability

William Dart  

Away with the Fairies

Duration: 50' 00" Year: 1983
a divertissement for diva

Eve de Castro-Robinson  

Five Responses

Duration: 30' 00" Year: 1989
For women's voices, male speaker, and mixed ensemble

  • Instrumentation
    for 3 sopranos, 3 altos, male speaker, alto fl, piccolo ,E-flat clarinet ,B-flat clarinet , bass-clarinet, horn, percussion (xylophone, timpani, 5 temple blocks, tambourine, 15 maracas, windchime, clicker,marimba, cymbals, balloons, pingpong balls) hp,pf. Extras: 13 balloons (with pins); brick (for piano pedal); 100 plus table tennis balls
  • Programme Note

    This work for mixed ensemble and female voices drew its inspiration from a series of paintings by Ken Robinson which were hung up behind the performers. “Drawing on Spanish texts from Pablo Neruda and St John of the Cross, Eve de Castro-Robinson has produced some wonderfully exotic music. Timbres are perfectly judged, from the vibrant exoticism of alto flute in Edged to the mysterious ceremony of horn and timpani in Black Drop and solo lines have a tremendous sense of tautness and cohesion.” William Dart, Music in NZ

  • Availability

Murray Biggs  

Four Oriental Pieces

Duration: 28' 00" Year: 1983
for flute and percussion

Dorothy Buchanan  

Just Looking

Duration: 24' 00" Year: 1987
music for dance, for trio

Jack Body  

Love Sonnets of Michelangelo

Duration: 13' 00" Year: 1982
for soprano, mezzo-soprano, voice, and a dancer

  • Programme Note

    The Love Sonnets of Michelangelo I wrote for Michael Parmenter, with whom I worked on a programme entitled Between Two Fires (also included was a dance-theatre work I created collaboratively with Michael, using his voice as well as his body, with imagery extracted from the diaries of Franz Kafka.) At the time I was focused on different styles of melody, having just completed my Five Melodies for Piano. Inspired by the lovely voices of some of the then current students in our School of Music, I felt that women’s voices gave the expressive quality I wanted, as well as providing a useful ‘cover’ for the overtly homo-erotic tenor of the texts. The original production used film, shot by my good friend Bayley Watson, showed the dancer’s prostrate figure, swathed in bandages. As the performance unfolded the cloth was gradually cut and pealed back by hands belonging to an old man whose face we never saw, the intended metaphor being of the sculptor cutting away marble to reveal the male form that he sensed already existed within the stone.

    The work has since had other performances that have discarded the theatrical elements, most successfully when each setting is prefaced by a reading of the poem in translation.

    These settings of some of Michelangelo Buonarroti’s most personal sonnets articulate the anguish of love and desire, as well as the despair of old age. The musical style combines the theatricality of Italian bel canto with the direct expressivity of folksong.

  • Availability

Dorothy Buchanan  

Mary Magdalene and the Birds

Duration: 15' 00" Year: 1989
a song cycle for mezzo and clarinet

Warwick Blair  

Natyam

 Year: 1985, r. 2006
For tenor, flute, cello, piano and percussion

Kit Powell  

Nothing but Switzerland and Lemonade

Duration: 12' 00" Year: 1981
for soprano and wind trio

Kit Powell  

Piece of 4

Duration: 45' 00" Year: 1980, r. 2007
a piece of four players